The Mandala of Inspiration is a graphic representation of a formula the computer uses to scan an image to disc, first its major areas of colors, brightness levels, color saturation levels and then areas within areas, ad infinitum, in the shortest possible time with the fewest zeros and ones. Apparently, when your eyes are the scanner, your mind uses the Mandala of Inspiration to code the image more quickly and completely to a file in your mind.
After doing this with several art and natural images, I am more able to see all images, say what establishes rapport with strangers, get more into meditation and yoga, make love anew, create salads guests savor, make moves and practice teamwork leading to basketball scores, as well as comprehend and take care of a world we can share..
.
Q & A
Q1. Is it necessary to use the Mandala to comprehend the detail of the target image (such as a photograph or a landscape)? A1. If I would ordinarily become bored viewing an image for more than a minute, with the aid of the Mandala I typically see much more and much faster and continue to do so in the same image for upwards of ten minutes. Without the Mandala, my conscious self sees the biggest things, and, naming them – “that’s a multi-colored flower that looks like a tulip, and behind it are two yellowish-orange leaves” (see Parrot_Lily_Flower.jpg) - thinks it’s done. It avoids going further because the things it can’t readily name – variations in colors or similar lines, textures, areas, shapes, or colors in two or more differently named objects – either seem too complex or challenge the naming of the things already named. With the use of the Mandala, however, my subconscious mind looks at the three largest subareas composing the whole area of the work and then the three largest areas composing these areas, ad infinitum, and in so doing provides a framework for seeing the similarities and differernces in their colors, lines, textures, shapes, and shading in going from one to the next.
Q2. How many different color saturation areas (dark to bright) within how many areas of different color within how many different areas of these in an image can we be made aware with the aid of the Mandala? A2. Three saturation levels within each of three colors within each of three objects. Through one applications of the Mandala we can be made aware of three different objects, such as the three major petals of the Parrot_Lily_Flower.jpg, with three more applications we become aware of the three colors within each of the three petals; and with nine more applications we become aware of each of the three color saturation levels within each of three colors within each of the three petals.
Q3. Are experiences and their memory coded with actual 0’s and 1’s as in the computer? A3. The number of activated 0’s and 1’s in computer processing parallels the number of connecting nerves during an experience. Each combination of actual connections is also a combination of 0’s and 1’s and becomes a memory when the DNA on the nervous path taken leaves chemical markers so the path can be taken again.
Q4. What is meant by insight, consciousness and level of consciousness? A4. Insight and consciousness are like a bloodhound searching for a child lost in the forest. He moves his nose in random directions until he catches the nervous path of 0’s and 1’s of the child’s scent amongst those for all the other scents; this fires a nervous path of 0’s and 1’s for going in the direction of the scent, and with greater certainty, insight, and consciousness that he is nearing the child, he barks joyously and straightaway runs in the direction of the new scent. The greater the number of directions and scents the bloodhound sniffs before catching the scent and its direction, the greater his surprise, certainty, insight, and consciousness and barking upon finding them. And the more times he catches this particular scent and its direction per minute, the greater his average surprise, certainty, insight, consciousness, and barking per minute.
Q5. How do you compare the subconscious and conscious selves? A5. If you’re painting a picture, the subconscious self provides the kinds and quantities of colors, textures, shapes, lines, areas, and light intensities and inspires the brushstrokes to recreate them. The conscious self performs feedback and control operations on the progress of these strokes. More poetically speaking, the subconscious self by itself sees all the stars in the heavens and the directions they are taking. The conscious self by itself looks at your shoes and controls their next step. Together, the subconscious and conscious selves take steps toward a point on the horizon.
Q6. How can I better understand how and why the Mandala determines the number of characters required to recognize an image? A6. If green, red and blue cover 50%, 25%, and 25% of the image, respectively, they will be received by the eye with a probability of .5, .25, and .25. As shown by Probability Trees.pdf, a color event of .5 probability is coded with one 0 or 1 and events of .25 are coded with two 0’s or 1’s, and thus the “word” for green is “0”, the word for red is “10”, and the word for blue is “01”. (Note: in mathematics, the number of these characters is called the negative of the logarithm to the base 2 [the number of characters in the 0 &1 alphabet] of the percentage, or proportion of one, giving rise to them.) Each time the probability of an event is halved, another set of 0 & 1 is used to uniquely identify it with another 0 or 1, and the information of occurrence, due to its lower probability and predictability of occurrence, increments by 1 character. Using this method, the average characters used per event occurrence is minimized because the more frequently occurring, higher probability events are coded with fewer characters per occurrence, others with more. a. Using the probability trees of a printout of Probability Trees.pdf, plot and code:
Two colors of .5 probability each
Three colors of .25, .5, and .25 probabilities
Four colors of .5, .25, .125, and .125 probabilities
Four colors of .25, .25, .25, and .25 probabilities
b. The average number of characters required to recognize a color is the sum of each color’s probability times its coded characters. If green, red, and blue occur with probabilities of .5, .25, and .25, respectively, the average characters required to realize the occurrence of a particular color will be (0.5 x 1 character) + (0.25 x 2 characters) + (0.25 x 2 characters x 0.25) = 0.5 characters + 0.5 characters + 0.5 characters = 1.5 characters. Calculate the average characters per event in each of a.1, 2, 3 & 4 and then rank them according to the results. What do you conclude about their direction of increase in their average as more colors are added or their probabilities of becoming detected by the scanner become more equal?
d. The average characters formula used in calculating in problem b above is the formula for the Mandala of Inspiration. (Information theory calls this formula and its graph the ternary expected entropy function.) For the three combinations of proportions plotted in the base of Mandala and Probability Triangle - Corner.pdf, plot the total of their average characters per event directly above on the surface of the same figure. At the plotted points in Mandala and Probability Triangle - Top.pdf & Mandala and Probability Triangle - Corner.pdf, the intensity of green, red, and blue is proportional to the average characters required by each of the three proportions. Because these average intensities/average characters of consciousness are the number of characters of consciousness required to recognize each color multiplied by the proportion of the total area its subarea occupies, dividing this average by that proportion gives the number characters of consciousness used in recognizing the color when it occurs in the image, and is the negative of the logarithm of the proportion (for mathematical reasons, logarithms for proportions of one are a always negative). As shown in problem 2, when the probabilities of the occurrence of green, red, and blue are .5, .25, & .25 they have equal average characters of occurrence, and, thus, equal intensities of their representative colors to represent them at their location in the Mandala. The same is true for the equal probabilities of .333, but because their individual averages are greater, and their sum the figure’s greatest, the Mandala is white at this point and slightly grayer at the former.
Q7. Why are the sides of the top view of Mandala of Inspiration.pdf bowed out? A7. As you come closer to Mandala of Inspiration - Corner.pdf, a round-topped object with a triangular base from a height directly overhead, you can see less and less of its perimeter area and so it appears more rounded. The medium distance Mandala top view appears to work best as a tool of contemplating other objects: where it bows out the mind may be exercising three-way comparisons of categories of an aspect to “see” the two-way comparisons along the invisible actual perimeter, and, in so doing, appears to facilitate transitions between two- and three-way comparisons.
Q8. How does the Mandala help to identify the sub-areas of an area? A8. By instituting the mental machinery for determining the metric areas of the image sub-areas within their area; from this the proportions of the image sub-areas of their image area; and, from this, the number of characters (nerve connections) required to record the image sub-area at its spatial position in the mental matrix corresponding to the actual image.
Q9. Sometimes when I look directly at the Mandala it seems to have a light of its own or light up at different points. Why is that? A9. One or more of the following may be occurring: 1. By lighting it up, the subconscious self is making the conscious self aware of frequency combinations of three image aspects in the Mandala's base being recognizes with the minimum average characters of consciousness per aspect occurrence, as signified by the Mandala's height 2. More than one frequency combination of aspects is being processed near each other simultaneously. 3. The occurrence or memory of a frequency combination of aspects has had characters of consciousness added due to inappropriate connections to other frequency combinations and the subconscious self is eliminating them; or the occurrence or memory of this frequency combination of aspects has had characters lost due to faulty transmission or fading memory, respectively, and the subconscious self is attempting to replace them through retransmission or reconstruct them from other, correlated, frequency combinations. 4. The subconscious is processing too many frequency combinations of two and three aspects per second, indicating that the Mandala should be turned off so the subconscious can concentrate on more efficient/effective frequency combinations of four or more aspects
Q10. What happens if I view the Mandala without a target image? A10. If the Mandala of Inspiration.pdf, is viewed without a target image, it targets the “images” of your subconscious – memories of reality, words, graphs, charts, musical notes, feelings, motor skills etc. - and the Mandala itself may seem brighter at certain points, representing heightened subconscious experience of these images’ aspects at corresponding quantity or probability combinations thereof at points in the base of Mandalaand Probability Triangle - Corner.pdf. Also, your mind and body will be coming awake to themselves, and you may yawn and raise your arms as in awakening. After several minutes you may seem to tire of the Mandala, but the Mandala itself will not have lost its light. This could mean that the subconscious wants to make greater than the three-way comparisons of aspects of the subconscious than the Mandala will afford. So your eyes may close and your head drop in order to do so without distraction. Usually within fifteen to fifty minutes the Mandala does seem to lose its light, meaning that all aspects of your inner self possible at this time have been examined, understood, reorganized, and recorded with the fewest characters (nerve connections) possible. At this point you may be blissed out in relation to the conscious self and the outside world; so it may be a good idea to use the Mandala alongside visible, well composed, constructive images, such as the Parrot_Lily_Flower.jpg and others, until normal connectedness to the conscious self and the outside world returns. Any later effects that the Mandala may have on your internal self – a sense of oneness, grace, or vitality – or on your relationships with the outside world – acuity of senses, visual modeling, or eye-hand coordination – usually fade with the memory of the Mandala and your ability to visualize it, usually within 24 hours. Important Note: If you use the Mandala with normal target images before using it without them, you will likely find no effect or benefit from the latter.
Q11. A mandala is defined as a graphic illustrating the nature and powers of the universe. How does the Mandala of Inspiration fill this requirement? A11. In mathematics, the number of characters calculated for realizing an event in problem b above is called the negative of the logarithm of the proportion to the base 2, the number of characters that 0 and 1 are in the 0 & 1 alphabet. In the base of the icon, a proportion can always be found whose inverse (1 divided by the proportion) is equal to any given positive number greater than one, and the logarithm of this number is the negative of the logarithm of the proportion. Thus the calculation for the logarithm, dividing a proportion in the base of the Mandala into the average intensity of its corresponding color on the surface of the Mandala, or else the negative of this result, can provide the logarithm of any quantity between 0 and positive infinity, all of the values for which logarithms can be computed. Why determining the logarithms of values matters:
At the Big Bang, the energy used up, or entropy, due to its expansion (still continuing), is proportional to the differences of the logarithms of its initial and final volumes and of its initial and final temperatures.
The productive and wasteful use of energy by motors and pumps, the only mechanisms that can use energy on a sustainable basis because they operate in a cycle, is described in the same terms as the use of energy by the universe in #1.
If a gas molecule detector is placed in a volume of gas molecules of any size (including that of the universe), the average information generated by detection of the molecules striking the detector is described by the formula for the Mandala of Inspiration expanded from three events to however many gas molecules there are in the volume (or universe).
The average information of finding an object in any part of the universe is also described by the formula for the Mandala of Inspiration, expanded from three events to however many parts of the universe you could look.
The Mandala of Inspiration is a graphic representation of a formula the computer uses to scan an image to disc, first its major areas of colors, brightness levels, color saturation levels and then areas within areas, ad infinitum, in the shortest possible time with the fewest zeros and ones. Apparently, when your eyes are the scanner, your mind uses the Mandala of Inspiration to code the image more quickly and completely to a file in your mind.
After doing this with several art and natural images, I am more able to see all images, say what establishes rapport with strangers, get more into meditation and yoga, make love anew, create salads guests savor, make moves and practice teamwork leading to basketball scores, as well as comprehend and take care of a world we can share..
.
Q & A
Q1. Is it necessary to use the Mandala to comprehend the detail of the target image (such as a photograph or a landscape)?
A1. If I would ordinarily become bored viewing an image for more than a minute, with the aid of the Mandala I typically see much more and much faster and continue to do so in the same image for upwards of ten minutes.
Without the Mandala, my conscious self sees the biggest things, and, naming them – “that’s a multi-colored flower that looks like a tulip, and behind it are two yellowish-orange leaves” (see Parrot_Lily_Flower.jpg) - thinks it’s done. It avoids going further because the things it can’t readily name – variations in colors or similar lines, textures, areas, shapes, or colors in two or more differently named objects – either seem too complex or challenge the naming of the things already named.
With the use of the Mandala, however, my subconscious mind looks at the three largest subareas composing the whole area of the work and then the three largest areas composing these areas, ad infinitum, and in so doing provides a framework for seeing the similarities and differernces in their colors, lines, textures, shapes, and shading in going from one to the next.
Q2. How many different color saturation areas (dark to bright) within how many areas of different color within how many different areas of these in an image can we be made aware with the aid of the Mandala?
A2. Three saturation levels within each of three colors within each of three objects. Through one applications of the Mandala we can be made aware of three different objects, such as the three major petals of the Parrot_Lily_Flower.jpg, with three more applications we become aware of the three colors within each of the three petals; and with nine more applications we become aware of each of the three color saturation levels within each of three colors within each of the three petals.
Q3. Are experiences and their memory coded with actual 0’s and 1’s as in the computer?
A3. The number of activated 0’s and 1’s in computer processing parallels the number of connecting nerves during an experience. Each combination of actual connections is also a combination of 0’s and 1’s and becomes a memory when the DNA on the nervous path taken leaves chemical markers so the path can be taken again.
Q4. What is meant by insight, consciousness and level of consciousness?
A4. Insight and consciousness are like a bloodhound searching for a child lost in the forest. He moves his nose in random directions until he catches the nervous path of 0’s and 1’s of the child’s scent amongst those for all the other scents; this fires a nervous path of 0’s and 1’s for going in the direction of the scent, and with greater certainty, insight, and consciousness that he is nearing the child, he barks joyously and straightaway runs in the direction of the new scent.
The greater the number of directions and scents the bloodhound sniffs before catching the scent and its direction, the greater his surprise, certainty, insight, and consciousness and barking upon finding them. And the more times he catches this particular scent and its direction per minute, the greater his average surprise, certainty, insight, consciousness, and barking per minute.
Q5. How do you compare the subconscious and conscious selves?
A5. If you’re painting a picture, the subconscious self provides the kinds and quantities of colors, textures, shapes, lines, areas, and light intensities and inspires the brushstrokes to recreate them. The conscious self performs feedback and control operations on the progress of these strokes.
More poetically speaking, the subconscious self by itself sees all the stars in the heavens and the directions they are taking. The conscious self by itself looks at your shoes and controls their next step. Together, the subconscious and conscious selves take steps toward a point on the horizon.
Q6. How can I better understand how and why the Mandala determines the number of characters required to recognize an image?
A6. If green, red and blue cover 50%, 25%, and 25% of the image, respectively, they will be received by the eye with a probability of .5, .25, and .25.
As shown by Probability Trees.pdf, a color event of .5 probability is coded with one 0 or 1 and events of .25 are coded with two 0’s or 1’s, and thus the “word” for green is “0”, the word for red is “10”, and the word for blue is “01”. (Note: in mathematics, the number of these characters is called the negative of the logarithm to the base 2 [the number of characters in the 0 &1 alphabet] of the percentage, or proportion of one, giving rise to them.)
Each time the probability of an event is halved, another set of 0 & 1 is used to uniquely identify it with another 0 or 1, and the information of occurrence, due to its lower probability and predictability of occurrence, increments by 1 character. Using this method, the average characters used per event occurrence is minimized because the more frequently occurring, higher probability events are coded with fewer characters per occurrence, others with more.
a. Using the probability trees of a printout of Probability Trees.pdf, plot and code:
b. The average number of characters required to recognize a color is the sum of each color’s probability times its coded characters.
If green, red, and blue occur with probabilities of .5, .25, and .25, respectively, the average characters required to realize the occurrence of a particular color will be (0.5 x 1 character) + (0.25 x 2 characters) + (0.25 x 2 characters x 0.25) = 0.5 characters + 0.5 characters + 0.5 characters = 1.5 characters.
Calculate the average characters per event in each of a.1, 2, 3 & 4 and then rank them according to the results. What do you conclude about their direction of increase in their average as more colors are added or their probabilities of becoming detected by the scanner become more equal?
c. On the probability triangle in each of Mandala and Probability Triangle - Top.pdf & Mandala and Probability Triangle - Corner.pdf, label the location of each combination of numbers with their respective number.
d. The average characters formula used in calculating in problem b above is the formula for the Mandala of Inspiration. (Information theory calls this formula and its graph the ternary expected entropy function.)
For the three combinations of proportions plotted in the base of Mandala and Probability Triangle - Corner.pdf, plot the total of their average characters per event directly above on the surface of the same figure.
At the plotted points in Mandala and Probability Triangle - Top.pdf & Mandala and Probability Triangle - Corner.pdf, the intensity of green, red, and blue is proportional to the average characters required by each of the three proportions.
Because these average intensities/average characters of consciousness are the number of characters of consciousness required to recognize each color multiplied by the proportion of the total area its subarea occupies, dividing this average by that proportion gives the number characters of consciousness used in recognizing the color when it occurs in the image, and is the negative of the logarithm of the proportion (for mathematical reasons, logarithms for proportions of one are a always negative).
As shown in problem 2, when the probabilities of the occurrence of green, red, and blue are .5, .25, & .25 they have equal average characters of occurrence, and, thus, equal intensities of their representative colors to represent them at their location in the Mandala. The same is true for the equal probabilities of .333, but because their individual averages are greater, and their sum the figure’s greatest, the Mandala is white at this point and slightly grayer at the former.
Q7. Why are the sides of the top view of Mandala of Inspiration.pdf bowed out?
A7. As you come closer to Mandala of Inspiration - Corner.pdf, a round-topped object with a triangular base from a height directly overhead, you can see less and less of its perimeter area and so it appears more rounded.
The medium distance Mandala top view appears to work best as a tool of contemplating other objects: where it bows out the mind may be exercising three-way comparisons of categories of an aspect to “see” the two-way comparisons along the invisible actual perimeter, and, in so doing, appears to facilitate transitions between two- and three-way comparisons.
Q8. How does the Mandala help to identify the sub-areas of an area?
A8. By instituting the mental machinery for determining the metric areas of the image sub-areas within their area; from this the proportions of the image sub-areas of their image area; and, from this, the number of characters (nerve connections) required to record the image sub-area at its spatial position in the mental matrix corresponding to the actual image.
Q9. Sometimes when I look directly at the Mandala it seems to have a light of its own or light up at different points. Why is that?
A9. One or more of the following may be occurring:
1. By lighting it up, the subconscious self is making the conscious self aware of frequency combinations of three image aspects in the Mandala's base being recognizes with the minimum average characters of consciousness per aspect occurrence, as signified by the Mandala's height
2. More than one frequency combination of aspects is being processed near each other simultaneously.
3. The occurrence or memory of a frequency combination of aspects has had characters of consciousness added due to inappropriate connections to other frequency combinations and the subconscious self is eliminating them; or the occurrence or memory of this frequency combination of aspects has had characters lost due to faulty transmission or fading memory, respectively, and the subconscious self is attempting to replace them through retransmission or reconstruct them from other, correlated, frequency combinations.
4. The subconscious is processing too many frequency combinations of two and three aspects per second, indicating that the Mandala should be turned off so the subconscious can concentrate on more efficient/effective frequency combinations of four or more aspects
Q10. What happens if I view the Mandala without a target image?
A10. If the Mandala of Inspiration.pdf, is viewed without a target image, it targets the “images” of your subconscious – memories of reality, words, graphs, charts, musical notes, feelings, motor skills etc. - and the Mandala itself may seem brighter at certain points, representing heightened subconscious experience of these images’ aspects at corresponding quantity or probability combinations thereof at points in the base of Mandala and Probability Triangle - Corner.pdf.
Also, your mind and body will be coming awake to themselves, and you may yawn and raise your arms as in awakening.
After several minutes you may seem to tire of the Mandala, but the Mandala itself will not have lost its light. This could mean that the subconscious wants to make greater than the three-way comparisons of aspects of the subconscious than the Mandala will afford. So your eyes may close and your head drop in order to do so without distraction.
Usually within fifteen to fifty minutes the Mandala does seem to lose its light, meaning that all aspects of your inner self possible at this time have been examined, understood, reorganized, and recorded with the fewest characters (nerve connections) possible.
At this point you may be blissed out in relation to the conscious self and the outside world; so it may be a good idea to use the Mandala alongside visible, well composed, constructive images, such as the Parrot_Lily_Flower.jpg and others, until normal connectedness to the conscious self and the outside world returns.
Any later effects that the Mandala may have on your internal self – a sense of oneness, grace, or vitality – or on your relationships with the outside world – acuity of senses, visual modeling, or eye-hand coordination – usually fade with the memory of the Mandala and your ability to visualize it, usually within 24 hours.
Important Note: If you use the Mandala with normal target images before using it without them, you will likely find no effect or benefit from the latter.
Q11. A mandala is defined as a graphic illustrating the nature and powers of the universe. How does the Mandala of Inspiration fill this requirement?
A11. In mathematics, the number of characters calculated for realizing an event in problem b above is called the negative of the logarithm of the proportion to the base 2, the number of characters that 0 and 1 are in the 0 & 1 alphabet.
In the base of the icon, a proportion can always be found whose inverse (1 divided by the proportion) is equal to any given positive number greater than one, and the logarithm of this number is the negative of the logarithm of the proportion. Thus the calculation for the logarithm, dividing a proportion in the base of the Mandala into the average intensity of its corresponding color on the surface of the Mandala, or else the negative of this result, can provide the logarithm of any quantity between 0 and positive infinity, all of the values for which logarithms can be computed.
Why determining the logarithms of values matters: